This first \u00abretrospective\u00bb of the cherries of Jacques Halbert intends to make readable the astonishing continuity of this work. From the first canvas of 1975 to the new productions in monumental formats, this exhibition brings to light the infinite variations that are expressed in these tireless repetitions. In addition to the strictly pictorial qualities and concerns of the work of Jacques Halbert, it is here to question the astonishing resistance of this subject to exhaustion, as if each new cherry placed on the canvas renewed the very essence of the desire to paint. <\/p>\n
Appearing in the 70s, the cherry was a provocative reaction to the Support\/Surface movement that the artist, still a student, felt was terribly austere. The incongruous, almost fleshly irruption of the fruit on the blue canvases sign a reappropriation of his practice in accordance with his deep personality: that of an epicurean artist, worthy heir to the Dada exuberances. The cherry quickly leads him to the field of performance performance which is an important part of his practice: the artist made himself known by surveying with his three-wheeler the Parisian vernissages, selling cakes and cherry paintings. <\/p>\n
The art of Jacques Halbert is nourished at all levels of the great history of painting. His \u00abcherry\u00bb works are surprisingly situated at the confluence of two divergent states of mind of the avant-gardes that have since the 1970s profoundly redefined the artistic landscape. In some respects, his work recalls some radical movements, which pushed painting to its most extreme limits, such as BMPT with Daniel Buren or Niele Toroni. But by choosing the cherry, Jacques Halbert bypasses this radical trend by integrating humor and pop vitality, which also place him in the filiation of the Fluxus spirit and all artistic attempts to connect art and life. <\/p>\n
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